How do we scan line 16 at the end of the second stanza: two iambs plus an anapest
("And I have not had my part") or a sequence of anapest
, pyrrhic, spondee ("And I have not had my part": a "haven't" in Victorian stays)?
I for one confess to having a quotation from Hunt about the pleasures of a snug room filled with books posted on my office door, and to occasionally deploying bedtime stories such as Prince Caspian or If I Ran the Circus to make classroom points about Shakespearean intertextuality or the anapest
, the "march rhythm" (Laban 181) was considered appropriate for more settled dances.
About a particular rhythm in the same piece, Morris writes, "Imagine an anapest
in which the weak beats also feel something like spondees (thus, short/short/long)" (p.
Because of the unstressed syllable at the end of the line, the concluding foot is neither anapest
(unstressed-unstressed-stressed) nor dactylic (stressed-unstressed-unstressed).
Five iambs and an anapest
was the beat he tramped to now" (206).
The attraction of it is Byron's display of mastery of versifying that it displays: the perfect handling of the anapest
(the "running" meter).
Although it seems to accelerate the measure, the anapest
, a variation on this patterning but in triple--or tripe, fitting Addison's mold--time, still requires a systematic oscillation between stresses.
Each of the three eleven-syllable lines has the following meter: unstressed syllable, stressed syllable, unstressed, stressed, unstressed, stressed, unstressed, unstressed, stressed, unstressed, stressed (or three iambs, one anapest
, one iamb).
Perhaps they do so for reasons of meter (here in Levin's poem for the sake of the avoidance of the anapest
in essentially iambic line with a truncated opening foot).
, trochee, dactyl, spondee," he recited, "da dee, da da dee, dee da, dee da da, dee dee.
This is true also of prosody, because there must be harmony between feelings expressed and the metre chosen: so that "drama more closely resembles nature: and reflects changes in emotional stress, the poet passes from one rhythm to another: "hence the use of the anapest
for the chorus, of the iamb for dialogue and the trochee for passion;" (48) a spondaic line of Lucretius, for example, because of its long syllables, looks almost monstrous and full of shadow.